Quotes about iridescence

Source: The Last Continent

Source: The Image: A Guide to Pseudo-Events in America (1961), p. 37.

Source: Flipped (2001)

Source: The Magic Mountain (1924), Ch. 5

Source: V for Vendetta

Source: Interview with the Vampire

Source: Gilead

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 196 in: 'What he told me – II. The Louvre'

Source: The Eclipse: A Memoir of Suicide (2004), P. 120.

Epigram, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Frag. 1
Translations, Sappho's Poems and Fragments (2002)

Savitri (1918-1950), Book One : The Book Of Beginnings

Poem: At the Fishhouses

Source: The Pig Who Sang to the Moon (2003), Ch. 2, p. 59

Prologue
King Rat (1962)
Context: Changi was set like a pearl on the eastern tip of Singapore Island, iridescent under the bowl of tropical skies. It stood on a slight rise and around it was a belt of green, and farther off the green gave way to the blue-green seas and the seas to infinity of horizon.
Closer, Changi lost its beauty and became what it was — an obscene forbidding prison. Cellblocks surrounded by sun-baked courtyards surrounded by towering walls.
Inside the walls, inside the cellblocks, story on story, were cells for two thousand prisoners at capacity. Now, in the cells and in the passageways and in every nook and cranny lived some eight thousand men....
These men too were criminals. Their crime was vast. They had lost a war. And they had lived.

The Tall Office Building Artistically Considered (1896)
Context: All things in nature have a shape, that is to say, a form, an outward semblance, that tells us what they are, that distinguishes them from ourselves and from each other.
Unfailingly in nature these shapes express the inner life, the native quality, of the animal, tree, bird, fish, that they present to us; they are so characteristic, so recognizable, that we say simply, it is "natural" it should be so. Yet the moment we peer beneath this surface of things, the moment we look through the tranquil reflection of ourselves and the clouds above us, down into the clear, fluent, unfathomable depth of nature, how startling is the silence of it, how amazing the flow of life, how absorbing the mystery! Unceasingly the essence of things is taking shape in the matter of things, and this unspeakable process we call birth and growth. Awhile the spirit and the matter fade away together, and it is this that we call decadence, death. These two happenings seem jointed and interdependent, blended into one like a bubble and its iridescence, and they seem borne along upon a slowly moving air. This air is wonderful past all understanding.
Yet to the steadfast eye of one standing upon the shore of things, looking chiefly and most lovingly upon that side on which the sun shines and that we feel joyously to be life, the heart is ever gladdened by the beauty, the exquisite spontaneity, with which life seeks and takes on its forms in an accord perfectly responsive to its needs. It seems ever as though the life and the form were absolutely one and inseparable, so adequate is the sense of fulfillment.

Opening Chapter
Naked Lunch (1959)
Context: Shooting PG is a terrible hassle, you have to burn out the alcohol first, then freeze out the camphor and draw this brown liquid off with a dropper—have to shoot it in the vein or you get an abscess, and usually end up with an abscess no matter where you shoot it. Best deal is to drink it with goof balls … So we pour it in a Pernod bottle and start for New Orleans past iridescent lakes and orange gas flares, and swamps and garbage heaps, alligators crawling around in broken bottles and tin cans, neon arabesques of motels, marooned pimps scream obscenities at passing cars from islands of rubbish … New Orleans is a dead museum. We walk around Exchange Place breathing PG and find The Man right away. It’s a small place and the fuzz always knows who is pushing so he figures what the hell does it matter and sells to anybody. We stock up on H and backtrack for Mexico. Back through Lake Charles and the dead slot-machine country, south end of Texas, nigger-killing sheriffs look us over and check the car papers. Something falls off you when you cross the border into Mexico, and suddenly the landscape hits you straight with nothing between you and it, desert and mountains and vultures; little wheeling specks and others so close you can hear wings cut the air (a dry husking sound), and when they spot something they pour out of the blue sky, that shattering bloody blue sky of Mexico, down in a black funnel … Drove all night, came at dawn to a warm misty place, barking dogs and the sound of running water.

High Times interview (2002)

Source: Nemesis Games (2015), Chapter 29 (p. 309)

Gaslight Sonatas (1918)